Having read my book “Drawing from Line to Life”, Rob emailed me to ask…

I admire your attention to detail without the sacrifice of the ‘drawing’ appeal in your pictures. I was wondering, when drawing trees you mention drawing the internal structure. Are you advocating that when setting out to draw a tree you would draw the internal structure first, then map out the main masses of foliage on the limbs, then go back and erase the bough structure from within the mapped-out areas of foliage masses?

I don’t have any hard and fast rules for myself – I just wing it and do whatever best suggests itself.

Typical guideline drawing

However, one thing is certain – I need to have a three-dimensional idea of what I am about to draw. Establishing the trunk and major boughs gives me an armature to work around. On that skeleton I can then map out (however roughly) the major masses of foliage. If you keep your guidelines light, you probably won’t need to erase them.

You can start with the edges or the centre, but do bear in mind that the central ones will overlap those at the side of the tree. All this helps to reinforce the three-dimensional nature of the structure in your mind but relieves you of the need to work out form and lighting of each element. That said, I often lightly hatch the basic shading required to remind myself later of what I was visualising at the time.

I’m assuming (I hope correctly) that you are referring to midground and background trees. Foreground trees require more planning and tighter detail. Look closely at tress and ask yourself why you know it’s a tree even though, in all probability, you cannot discern actual leaves. Maybe it’s the dappled pattern of light? Perhaps the shadows that describe the three-dimensional nature of each leaf mass? Or, more probably, a combination of the two – and more.

Completed tree from guideline drawing

Next decide on the lighting direction and then begin drawing. I prefer to begin with those areas of branch that show through the foliage. as little light enters deep into the tree, and they are seen against a bright sky, they are relatively dark. Establishing one first, in the area that are going to work in, gives you the deepest tone and the white of your paper, of course, supplies the lightest. Now all your intermediate tones will fall into place as you work.

I tend not to shade but to just work in random patterns of lines and scribble; working light with more visible hie remaining in the brightest areas, and overworking the darker areas with more pressure. There’s little conscious thought involved – just watch the tree grow before your eyes.

Stages of spontaneously drawing a midground tree

As each element is three-dimensional, it must obey the laws of light and form – each casting its shadow on the mass below, and having a highlighted top and more shaded bottom.

Take a look at an earlier article of mine (“drawing-trees-and-bushes”), don’t plan too much, keep it free and spontaneous, and you’ll find yourself drawing realistic, organic trees in no time!

Shanti, who attended one of my workshops last year, has emailed to ask:

“I have been reading your book like a fiend and wanted to ask a question about projectors for tracing. It must be a huge time saver and I was interested in knowing what you might recommend.”

A Graphics Projector is definitely a great time saver – but to be used with caution, as I shall explain.

The best, in my opinion, is the Artograph DB300 (which I use) or the more powerful DB400. Unfortunately, neither are still in production but if you find one on eBay or a similar site, seriously consider purchasing it. It’s a huge and heavy beast, so you need permanent space for it, and a strong table or worktop to clamp it on to. The nearest equivalent that I know of, although not as solid as the DB300, is the Kopykake Kobra 5000. This has a similar sized copyboard to the DB300′s impressive 10″× 8″, but I’m told it can be a little inaccurate towards the outer edges of the image. That’s a common fault, as I shall also explain.

Artograph DB300 and Kopykake Kobra 5000

Incidentally, for mural or large-scale works, the DB300 can be lifted off its pedestal and replaced on its side to project horizontally.

PROBLEM:
Some Graphics Projectors have front-silvered mirrors and others are more conventionally rear-silvered. Which do I choose?
SOLUTION:
Always choose a front-silvered mirror. A rear-silvered one presents two surfaces for the image to reflect from – the front of the glass and, slightly behind it, the actual silvered surface. This can result in ghost images appearing.

PROBLEM:
My Graphics Projector displays distortion towards the outer edges of the projected image.
SOLUTION:
This is a common problem and easy to check. Draw out a grid of squares, load it onto the copyholder and view the result. Any distortion will immediately become apparent. Knowing that distortion is present is useful, but knowing WHERE that distortion occurs is invaluable. In most cases you should find the central section to be sufficiently distortion-free for most uses.

I overcome that problem by projecting multiple images to build up a complete composition. I’ll project an overall sketch of my proposed composition, resize it as required, and then outline only the background onto my final drawing paper, bearing in mind that it might not be totally accurate. At the same time I’ll mark the positions (placeholders) of the important elements – those that have to be accurate. Each of those elements will have been worked on as separate line drawings, and each is individually projected, placed in its placeholder and traced off. As these smaller line drawing occupy only the central area, they are free of distortion.

That might sound like extra work but, by isolating them, I learn much more about each of those elements while I finalise their appearances.

PROBLEM:
When I begin drawing, I find I only have a half-formed idea of how to tackle each element.
SOLUTION:
This can be a common problem when you simply trace directly from reference material. You have (and require) no understanding of the subject when you merely trace outlines and features. The solution is to use at least two steps.

Step #1: Project and trace the reference, so you remove all lighting, three-dimensional form, and texture. Boiled down to a simple line drawing, you can now easily alter it to suit your requirements, build in emotion, fix potential visual problems and even (if required) work out an entirely new lighting source direction. During this stage you will discover potential problems, work out what parts actually look like, and make the majority of the errors that might otherwise ruin your drawing.

Step #2: Project and trace your Stage 1 line drawing. Resize it to fit the placeholder or paper (if it is a stand-alone subject). What you are now projecting is YOUR drawing and not just a mechanical tracing of a reference.

Finally, a Graphics Projector can perform more tasks than you might consider possible. I now use a computer to perform many of those tasks, but previously I would, for example, use my DB300 to project one photograph of a dog onto another, using a piece of card to blank out unwanted areas so I could see the effect of one head attached to another body. Or I can superimpose the original photograph onto my line drawing and, waving a piece card from side to side through the projected light, easily check for substantial inaccuracies – any deviations between the two flash on and off. With some imagination, the uses are endless.

Debbie wrote to ask:
I just wanted you to know that I’m learning a lot from your book. But I have a question. I’m ready to start shading, blending ect. When you do this do you do it with your drawing board flat or still on a tilt?

On a tilt, Debbie – for two reasons.

First, I’m too lazy to readjust my drawing board

Second, it allows loose graphite to drift down away from my drawing surface. There is almost no other reason why you shouldn’t work on a horizontal board.

However, the practice of drawing on a tilted drawing board is universally accepted because it minimises parallax errors. If you work on a flat board you may be looking directly down at the base of your drawing but parallax distortion will occur because the top of your drawing is angled away from you. This is like working in perspective (measurements diminish in size with distance) on something that will ultimately hang vertically in front of the viewer.

That said, if you already have guidelines in place then parallax errors shouldn’t occur, because you will simply be working within predefined boundaries.

It’s your choice but, personally, I’d choose a tilted surface where every part of my drawing is an equal distance from my eyes.

We fancied doing something SPECIAL as a workshop in 2011. Jacksons Hole was mentioned but the cost was prohibitive and then the idea slowly dawned… let’s go back to YELLOWSTONE! But this time, instead of a 5-day workshop, let’s make it six days, make it affordable, and include everything in the price – that’s:

• Illustrated talk by a Park Ranger so we know what to expect and look out for during our visit to…
• A full day in the Park with assistance on photography, taking that unusual but useful shot, and looking for elements that can be combined into a useful setting. And we provide transport and lunch.
• Improve your photography – late afternoon sessions by talented Artist and Photographer Rich Adams beginning with the basic uses of compact cameras.
• Visits to the nearby Grizzly & Wolf Discovery Center to get those photographs that eluded you in the Park.
• Five days of uninterrupted drawing covering drawing from the basics up to advanced.
• AND all tools and paper will be provided. Just bring yourself.

YELLOWSTONE USA 6-day SPECIAL WORKSHOP

Dates     : 12th -17th June 2011
Duration : 6 days, 10 am to 5 pm
Location : Holiday Inn, West Yellowstone, Montana

Our busy 2008 Yellowstone 5-day workshop

Novice or advanced, you’ll travel from the basics right through to a final drawing, covering a variety of techniques along the way, including the use of references and how to use them for composition, how to use Negative Drawing effectively, and the benefits of seeing and using Negative Space. And no lectures! I prefer to work with you individually so you can learn and explore by drawing.

And I’ll show you how you can break down any drawing, however complex, into easily manageable parts, and apply simple step-by-step techniques to draw them believably.

You’ll learn both the “HOW” and the more important “WHY” – the one that adds understanding to the other. Whatever your present ability, you will leave with a new-found knowledge of how to draw effectively, and how to remove stress from your drawing projects.

WORKSHOP DETAILS

We’re doing everything we can to make this special workshop affordable – including reserving rooms in two hotels to give you a cheaper option. And we scouted for local RV and campsites as well as B&Bs. They’re all listed on my website.

For full details of the workshop, including local accommodation, maps, travel and Things To Do, visit:

www.SibleyFineArt.com/Yellowstone

Let’s make this a workshop to remember! Or, as Rich said, something to tell your grandchildren about  

This workshop is limited to just 25 artists to ensure individual attention, so head over now to the workshop page and fill in the “Keep Me Informed” details to make certain of receiving the newsletters.

Has it really been over a month since I last posted progress with the new studio? How time flies when there’s work to be done.

I have still to begin work in the studio itself, because the completion of the office and shipping room will enable me to move out of the house and continue with running the business.

All the lighting cables have been installed and the power ones too. The power is in two circuits, so we can shut down the computers from one switch without disturbing any items that need to be left running overnight. The strip lighting in both rooms has been completed, and feeds provided through to the studio. And I’ve finished the gloss painting in the office and the vinyl wall covering.

We made two good purchases: Jenny found a supply of excellent once-used office furniture and we bought three desks and two drawer units – all for the price of two new desks. And we found new, end-of-consignment, carpet tiles at a 60% discount!

All the desks needed to be drastically altered – narrowed by 7½ inches, new cables holes cut, and the legs repositioned. I omitted the modesty panels but, as they were a part of the strength of the legs, the tables are now bracketed to the walls. The panels will later be used for a floor-to-ceiling bookcase.

DVD editing station left and accounts at right

As yet we have no heating, although the cable trunking is ready to take the power to an HVAC unit. When it’s installed in the office, it will heat both rooms by way of a grill to be placed in the opening above the door. This unit will provide heating, ventilation, dehumidifying and air conditioning. And we need it as temperatures lately have been as low as -18°C overnight! Some days it’s just too cold to work in there.

General workstation, and DVD editing and accounts areas

Last night I fitted and painted the door to the office, so I can now close that room off and concentrate on completing the next room. I cleared the shipping and storage room of tools and, as soon as the air temperature warms a bit, I’ll begin by laying the flooring, for which we found a discounted end-of-roll sheet of vinyl. The steel racking has been delivered and I have one storage unit to build and a plan chest from the existing studio to alter and make into our packing table.

The emptied shipping room ready to be completed

Let’s hope the heating is delivered soon and I can fit it in sub-zero temperatures, and that I can post new progress quicker next time!